Large River Landscape Painting by Alfred Augustus Glendening (1884)

Description

ALFRED AUGUSTUS GLENDENING
British, active 1861-1903

A Figure Overlooking a River Landscape Before a Pasture of Grazing Sheep (1884)

Oil … more ALFRED AUGUSTUS GLENDENING
British, active 1861-1903

A Figure Overlooking a River Landscape Before a Pasture of Grazing Sheep (1884)

Oil on canvas | signed lower left "A. A. GLENDENING 1884"

Item # 311SJP09Z

An exquisitely painted landscape capturing a quiet grove along the river where a woman walking with her dog has stopped to take int he view. It is a moment of tranquility under the cloudy autumn sky as the cows take cover under the trees beside the water's edge. In the distant meadow, a large flock of sheep can be seen grazing throughout the grasses. The surface exhibits an excited brush-work with a moderate impasto built up from the energetic layering of colors as Glendening worked to express the sheer complexity of the landscape in front of him. The colors are fascinating with a high-chroma saturation in the foreground where the light comes through the clouds more clearly while the mountains and the distant hills become less saturated under the gray cloud cover.

The painting is signed lower left in blocked script "A. A. GLENDENING" with a date of 1884 and the reverse retains an early exhibition label numbered 2582.ALFRED AUGUSTUS GLENDENING
Born in London, Alfred Augustus Glendening initially embarked on a career as a railway clerk before shifting his focus to the arts. The details of his artistic education and early inspiration remain largely undocumented. Glendening's artistic journey began to gain public attention in the mid-1860s, with his works regularly featured at esteemed art institutions such as The Royal Society of British Artists and the Royal Academy.



ALFRED AUGUSTUS GLENDENING
Glendening's artistic forte was predominantly in the realm of English landscape painting. His canvases frequently captured the essence of the Thames, along with picturesque vistas from Wales and Scotland. His art was characterized by the portrayal of tranquil water scenes and rural settings, often including elements like riverbanks and aquatic birds. These themes resonated with the contemporary Victorian audience, especially amidst the urbanization and industrial growth of the era.

His style was noted for its gentle and refined approach, employing fluid strokes to depict the serene beauty of the English countryside. The landscapes he painted were marked by their vivid depiction of light and atmosphere, often featuring skies with subtle hues and reflective water bodies. These elements brought a sense of calmness and pastoral charm to his work, appealing to the middle-class market of the time.

Residing in Greenwich during the latter half of the 19th century, Glendening established himself as a notable figure in Victorian landscape art, distinct from his son and pupil, who shared his name and artistic vocation. Throughout his career, which spanned several decades from the 1860s to the first years of the 20th century, Glendening showcased a prolific body of work in London's art scene. His exhibitions were frequent and well-received, with appearances at prominent venues including the Royal Academy and the British Institution. His influence extended beyond the UK, with his works being part of museum collections in cities like Adelaide and Sydney.



Artist Listings & Bibliography:
• E. Benezit Dictionary of Artists, Gründ, 2006, vol. VI, p. 327-328

Measurements: 33 1/4" H x 45 3/8" D [frame]; 24 1/4" H x 36 3/8" W [canvas]

Condition Report:
Original stretchers, some keys replaced; linen with a nicely executed wax lining; small losses inpainted horizontally around a likely old tear in center of painting just above the stream (see UV); some areas of overcleaning present, including the woman, the dog and some of the brush; losses on the left frame edge with associated vertical inpainting (see UV); overpainting present to the sky, notably the far right and left, but also present throughout (note the flaring under UV); a few other spot fillings and specks of inpainting. Just finished in our conservator's studio: cleaned, resealed in traditional Damar varnish. A very fine presentation, ready to place. Frame with numerous losses throughout, discoloration to the gilding and some overpainting of the gilding, seams present in the corner joints (tightened from the back with application of metal tabs). less